The Quiet Woman

1951
1h 11min

NOTE IMDb

MA NOTE

Ajouter une intrigue dans votre langueCoastal pub proprietress is inveigled into a smuggling plot.Coastal pub proprietress is inveigled into a smuggling plot.Coastal pub proprietress is inveigled into a smuggling plot.

Voir les informations de production sur IMDbPro

NOTE IMDb

6,0/10

260

MA NOTE

Voir les informations de production sur IMDbPro

Photos63

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Avis des utilisateurs15

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4boblipton

For A Movie About A Quiet Woman, There's An Awful Lot Of Talking

Jane Hylton runs a pub on the water, but she used to do other things. Derek Bond is an artist, but he also does other things. And John Horsley doesn't do anything, but he also does other things. We find out soon enough what these other things are. Not all of them are nice, but the movie still goes on for 67 minutes, because there has to be a final scene involving a fight at sea in the fog, in what appears to be about four feet of water.

There's some good camerawork by Monty Berman, but this sort of movie, which tries to retain the audience's interest by the occasional Surprising Revelation doesn't do much to interest me. Character is revealed by action, not talk - unless it's one of those movies in which the characters are terribly clever people who say interesting things, which these people aren't.

5malcolmgsw

routine b thriller

Setting the film on the coast gives this film the advantage of being different from the majority of thrillers which are set on the mean streets of London.so I suppose you could coin a new descriptive phrase,film mere,for this film. It relies far more on the acting than the story,which you could describe as a lot of old rope.Dora Bryan and Michael Balfour give excellent support to the rather leaden leads. This film rather let's itself down by some truly dreadful process photography,which rather highlights the financial constraints placed on the production.There is not a lot more to be said about this film so I will conclude the review.

6Sleepin_Dragon

It takes time to get going, but it's good when it opens up.

The Quiet Woman is a low key affair indeed, it starts off at a very casual pace, indeed the first half hour feels like it could have been a comedy, it's pleasant, but slow. At about halfway there is a change up, and the thriller element comes through, for me it then becomes a lot more interesting, we get to learn why the two women are there, it's good.

Harry Towb was very good as Jim, he added something that had lacked, a bit of grit. His appearance does change things up.

I just love Dora Bryan, she was a true unique talent, she adds a lift to this film.

It looks very nice, good location work, it's nicely filmed, and stands up well.

It's a good, if slow moving film, 6/10.

8StevenKeys

The Quiet Woman

A winsome, mysterious woman (Hylton) tries to escape her troubled past in reviving an East Sussex tavern on the Bay with a trusty friend in tow (Bryan), encountering a pair of "pirate(s)," one an artist (Bond), the other a bosun's mate (Balfour), both proving helpful when her unruly half (Towb) comes calling in this rom dram quickie (71m) from Tempean / Eros. Directed and co-written by John Gilling (Recoil) (Adams), Quiet projects well on convincing, clever, sometimes very frank dialogue ("wished he'd died in prison") and one of filmdom's great kisses (@ 29:50) (Berman). Co-stars John Horsley as the coy customs officer and Dianne Foster in standard casting of the exceedingly beautiful, bitchy rival, it's one of the movies that has me falling head over heels for post-war British crime drama (River Beat, They Made Me a Fugitive, For Them That Trespass, The Slasher, Double Confession). A sea noir set near "Romney Marsh" with a smart script and notes that match the mood (Lanchbery), to call it simple is an admission of a weak heart, for these pictures that proliferated when England, a war victor, was struggling to adjust, are filled with feeling and suspense (3/4).

searchanddestroy-1

Too British for me

I have always craved for British crime dramas or thrillers from the late fifties and early sixties period. But this one was made in 1951, so in a way, we still are in the forties mode. Very very British in the style, without any influence from the American film industry, and maybe not always in the good way. This film is talkative, it lacks something which we will find several years later, especially from John Gilling, the future director of FLESH AND THE FIENDS, SHADOW OF THE CAT, FURY AT SMUGGLERS BAY, BANDIT OF ZHOBE, THE CHALLENGE...Actually, this thriller drama is interesting for those who like the British cinema of this period, for its atmosphere, settings. Yes, from this angle, point of view, it is charming. But nothing exceptional.

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Anecdotes
Dora Bryan replaced Diana Dors, who had quarreled with the director.

Gaffes
When Elsie is going up the stairs after the flower delivery she trips as she goes round the corner on the landing.

Citations
Duncan McLeod: Morning, Jane. Lovely morning.
Jane Foster: Good morning, Mr McLeod.
Duncan McLeod: Did I mention that my other name was Duncan?
Jane Foster: I believe you did. I don't remember mentioning that mine was Jane.
Duncan McLeod: Obviously an oversight
Jane Foster: [looking at him painting] I'm glad to see that you do something else besides smuggling.
Duncan McLeod: Oh, yes.
Jane Foster: Why do you smuggle?
Duncan McLeod: Keeps me out of mischief. I'm afraid you take rather a poor view of me, don't you?
Jane Foster: Possibly. It's quite a normal view to take of people who break laws. I mean, willfully break them.
Duncan McLeod: Trying to tell me you've never broken one yourself?
Jane Foster: What do you mean by that?
Duncan McLeod: Well we all do from time to time, don't we? Some more than others. You know - extra rations, dodging income tax and so forth. Quite human little failings really.
Jane Foster: Does smuggling liquor across the Channel come under the category of a human little failing?
Duncan McLeod: Oh, definitely.
Jane Foster: If you ever get caught, I hope the Customs authorities take the same view.
Duncan McLeod: Thank you! Didn't think you cared that much.
Jane Foster: I don't! If you want the truth, Mr McLeod, I hate people like you. You don't smuggle because you need the money, you do it out of bravado; because you think it's smart to get away with something.
Duncan McLeod: I wouldn't say that...
Jane Foster: Your worse than a real crook because you can look at what you're doing objectively and know that it's wrong. You think it's a good joke. But it's not. It's bad...
Duncan McLeod: You look wonderful!
Jane Foster: You make me quite sick, Mr McLeod!